Tag: social history

Leaham Hall in For Richer, For Poorer is a Jacobean style of country house that provides employment for its estate workers and the small nearby village of Leaham. In reality the image of Kiplin Hall inspired itsfictitious counterpart.

Jacobean architecture gained popularity during the reign of King James I (1566-1625) with its love of symmetry and the mixture of gable or flat roofs; these brick built buildings were houses of the well-to-do landed gentry.

The era’s love of colour, Palladian columns, woodwork and carvings, along with the use of granite made them quite unique. The central staircase would be a focal point that lead the family or visitors up to the first and second floors.

The Jacobean period was one that was tumultuous and the use of heraldry could reveal the owner’s loyalty. These houses, like many of the time, could also have been used as safe havens for those who had Jacobite sympathies.

Kiplin is a treasure to be discovered, tucked away in the beautiful countryside of North Yorkshire near the village of Scorton. It was built by George Calvert who was the Secretary of State to James 1 and founder of Maryland USA.

I borrowed some aspects of this tranquil setting for my plot in For Richer, For Poorer and placed Leaham Hall under threat. The early nineteenth century was a time of great social, industrial, political and religious change; so I set Parthena and Jerome Fender loose on a quest to save the Hall, the estate and the village.

Here are some pictures of the moorland trods that Parthena and Jerome have to cross. You can find out more about these ancient pathways in my blog post at Sapere Books

‘The RNA is the professional organisation that supports and promotes romantic fiction in the UK. Membership of the RNA offers authors the chance to strengthen their career through developing their craft at our workshops and conferences and to build a network with other authors who understand the challenges we face and can offer advice and support. We are also building strong links with the industry and our events give authors the chance to meet a wide range of agents, publishers, booksellers, librarians and other professionals.’

That seems to present a broad spectrum of activities and opportunities to support your members.

‘In addition, members receive Romance Matters, our quarterly journal covering all aspects of writing romantic fiction from the craft to industry issues, discounted tickets to all our events and the opportunity to join regional groups. So the benefits are both professional and social.’

Nicola stresses that although the emphasis is on the professional advice, events and networking a friendly and welcoming atmosphere is nurtured. So how does a writer become a member?

‘The RNA welcomes traditionally and independently published authors. Membership is in different bands: A full or independent Author Member is currently £50 (£57 for non EU based) and £60 for Associate Members (£67 for non EU based). All the details can be found online at or by contacting the membership secretary, Gill Stewart, on info@romanticnovelistsassociation.org.

The organisation also welcomes and encourages as yet unpublished writers into its ranks. The New Writers’ Scheme is unique as Nicola explains.

‘We’re very proud of the New Writers’ Scheme (NWS), which provides the opportunity for aspiring authors to submit a manuscript for critique by an experienced writer in the genre. Not only is it a great way for new writers to improve their craft, it also gives encouragement and support. As the RNA has close links with publishers and agents the NWS can provide a route for them to make those connections. Unsurprisingly it is hugely popular and each year a number of NWS members go on to achieve publishing contracts.’

The scheme is open to writers interested in submitting an unpublished romantic novel (or partial) and this year the membership fee cost was £135 (£145 for members outside the EU). This also allows unpublished authors to take part in all RNA activities as well as submitting a manuscript of a full-length novel for appraisal. More details are available by email to: NWS@romanticnovelistsassociation.org There is a cap on the number of submissions that can be accepted each year and acceptance into the scheme is therefore on a ‘first come first served’ basis. The entry slot for submissions closes at the end of August each year.

Today’s publishing environment seems to be becoming more challenging, but Nicola is very optimistic about the present market for the romance genre.

‘I think the romantic fiction genre is changing all the time to reflect both modern life and the changing publishing world. The genre is a broad one. You can find strong romantic elements in many different sorts of novels where people are writing about relationships, whether this is contemporary fiction or epic historicals or books for young adults. Our membership reflects all of these different threads. We also see the books reflecting the concerns of contemporary society, whether it is issues such as work life balance, infidelity or health. The recent return to popularity of Gothic romance perhaps reflects the idea that spooky stories resonate in uncertain times. And of course romantic fiction also continues to provide its readership with the wonderful feel-good stories that readers love.’

Looking forward, I asked Niocla if she thought that the scope for romantic fiction will narrow as lines in the market place are redefined, or do she saw it flourishing as it has done in the past?

‘I see a lot in the press about how the genre is being more and more tightly defined and categorised into sub-genres, but actually at the genre level, in the UK at least, I see it continuing to broaden out. There are romantic relationships represented in a whole range of novels from crime and sci fi to literary fiction. The RNA’s membership reflects that and our awards and events will continue to embrace that wider focus.’

How would Nicola like to see the organisation evolve under your tenure?

‘I’d like to see the RNA continue to provide great support for its membership whilst looking outward a bit more in our promotion of excellence within the genre. We would particularly like to build our relationships within the industry, with booksellers and librarians as well as with publishers and agents. We’d also like to put romantic fiction even more firmly on the map by reminding people what a very successful and dynamic genre it is in business terms.’

Nicola’s natural energy and enthusiasm for the genre shines through her vision, but can romance remain genre specific if there is a need or desire for a more open working relationship within the industry?

‘I think we can do both if we don’t constrain the genre too tightly. Our core role is to support our membership and as this is drawn from a broad range of romantic fiction this fits with the idea of needing a more open working relationship within the industry. With this in mind we are planning a series of joint events with the Crime Writers’ Association and the Historical Writers’ Association, amongst others, where we can explore the things we have in common and the support we give each other as writers more generally.’

Nicola Cornick is the author of dual-time gothic novels House of Shadows and The Phantom Tree (HQ) and also forty plus Regency romances. She is a former trustee of the Wantage Literary Festival and a historian and speaker specialising in public history.

Ellie has recurring nightmares of a child surrounded by early nineteenth century luxury who is kidnapped. When Ellie wakes it is to the normal sparse surroundings of her attic room and a life devoid of love. Yet, haunted by the child’s fear, she still dares to dream that one day she will be happy and find love.

Living in the old hall with her Aunt Gertrude and cousins Cybil and Jane, she feels as if she neither belongs to the family nor the ranks of the few servants. Her aunt frequently reminds Ellie that she is the child of shame – her mother had eloped with a Frenchman. The scandal, apparently, cast a long shadow over Ellie and the family.

However, when Aunt Gertrude announces that a suitor has been found for her Ellie’s initial excitement quickly turns to dread and humiliation.

Mr William Cookson’s unwelcome presence shines a light onto her past, but how can Ellie escape from her aunt’s plan for her future?

The term ‘Luddite’ is widely used even today, but its origins are shrouded in both truth and myth.

Two names that are supposed to have been associated with it are Ned Ludd and King Llud. Whatever the truth, the term has stayed in common language. Today it is used to describe someone who is averse to technical change, but its origins stemmed from men who thought they were fighting to save their livelihoods and their families from being destitute.

Since medieval times the wool trade had been of great importance to the working people of our nation. Traditionally women and their children spun the yarn and the menfolk were skilled loom weavers. Each piece of cloth was then taken to market to be sold in the Piece Halls. In the early nineteenth century new inventions took over this traditional family method of making and selling cloth.

With new cotton and wool mills growing in size and numbers, the workers that left their villages to work in them need not be so skilled. They could be taught a task and become part of the overall process.

The volume of cloth produced could therefore be increased. Uniformity and scale of production would be guaranteed by the use of these wider weaving machines. But the downside was that the employment was no longer a cottage industry, but required a central approach, breaking up communities and leaving men without the means to feed their families. With the price of food, particularly bread increasing, the men felt somehow their concerns needed to be heard.

The actions of a man allegedly called Edward Ludlam also knonw as ‘Ned Ludd’ in 1779 was given the label ‘Luddite’. He was accused of breaking two frames in anger. So when in Nottingham in 1811 groups of weavers gathered and planned attacks on targeted mills to destroy the machines that had taken away their livelihood, the term ‘Luddite’ was used again and stuck.

These attacks spread to Yorkshire and other counties and continued for a number of years. Groups banded in numbers of up to three figures, but surprisingly few were actually caught or hanged. Some were transported, perhaps unjustly, as those who were accused of being part of a gathering or an attack would have little defence heard to save them. King Llud was used on letters of demand to add weight to their threats and demands.

In 1812 The Frame Breaking Act made the breaking of stocking-frames a capital felony, hence allowing the death penalty to be given to those caught. Rewards were offered, but the local people were the very families of the men who were trying to stop a revolution of machine replacing manual labour, soit was unlikely that many would provide information. It is also likely they would be in danger if they were discovered by the gang members. It was a battle they could never win,

The government and the mill owners did not listen to their pleas. Workers, including young children, were paid low, had no say over their conditions and were often exploited.This was exactly the situation Phoebe and Thomas escaped from in Phoebe’s Challenge. As mills developed not all owners were as harsh (they were by comparison to today’s working practices) but some introduced education, shorter hours for children and healthier diet and living conditions. This is where the idea for Laura’s Legacy came from.

Just click on the link to see how Phoebe rises to the challenge or how Laura’s Legacy survives!

It is 1820: Miss Laura Pennington is the wilful daughter of self-made man, Obadiah Pennington. Having risen from being a humble fisherman’s daughter she is still adjusting to her new position in society. Caught trespassing on private land, fate crosses her path in the person of Mr Daniel Tranton. Together they come to the aid of a mill runaway. Neither realise that the men hunting him are also set on hurting Daniel until his future depends on Laura’s quick thinking and action.

Three miles from the coastal resort of Redcar, North Yorkshire, lies the beautiful small village of Kirkleatham. Originally known by its Norse name ‘Westlide’. Through time and links to the original ‘Kirk’ (church) lands it evolved from a small village to a prosperous estate with famous links to London.

I often explore such locations when researching the background to my stories, which are set within the region. This beautiful area was once owned by Guisborough Priory, before King William I granted it to The Count of Mortain and Robert de Brus in 1086, down through the centuries, it came into the hands of the Turner family.

Today the main buildings’ features of the almshouses, the church, mausoleum, and the museum in the Queen Anne building where the old school was housed, they all stand as testament to the legacy left by the Turner family. Sir William Turner (1615-1692) became Lord Mayor of London in 1669. His loyalty to King Charles II and his active involvement in rebuilding the city after the Great Fire were greatly rewarded. However, he was a man who seemingly also showed compassion for the less fortunate. He was President for the Bridewell and Bethlehem Hospitals as well as founding the Sir William Turner Hospital in Kirkleatham (now the almshouse building).

The old school house. Holds the historical treasures in the Kirkleatham Museum.

The ornately gated almshouses are still used today.

The magnificent old stables.

The old church and mausoleum.

An isolated gateway between two fields is surrounded by old woodland.

The Hospital was built around a quadrangle, with a chapel opposite the ornate gates separating the quarters of the 10 women and 10 men. There was also accommodation for 10 girls and 10 boys. These children were either orphans or from one-parent families. They were taken in, given a basic education and then would leave to serve an apprenticeship or enter service.

The ancient church was added to in 1740 to commemorate Marwood William Turner who died on his Grand Tour in Lyons in 1739. Charles Turner, who was the first Baronet in 1782, improved the roads in the area. He also built the Turner’s Arms in nearby Yearby to replace the alehouses, ‘wretched hovels’, which had harboured smugglers. Charles encouraged tenants to experiment with new crops and techniques. His son, also a Charles (1773-1810), was the last Turner to own the estates. The estates then passed through marriage to the Newcomen family. Schools and buildings in the local towns have carried the names of these families for years.

Eventually the estate was sold in 1948. The contents of Kirkleatham Hall, the Hospital Library and Museum were sold at auction. The once magnificent Hall was then left to decayand in 1956 was demolished.

Kirkleatham today houses the local history museum which, amongst other exhibits, houses the Saxon Princess Exhibition. The local maritime and industrial historical exhibits cover three floors. Access is good as the site is level; ramps and a lift means that it is accessible to all.

The 15 acre grounds cover a woodland, play area and willow walk. It extends past the old stables to open fields. A café serves hot and cold foods and facilities are good throughout.

Admission to the museum is free but touring exhibitions and events held at the site may be charged for.